Blasius' compositions were "influenced by the foreign musicians he encountered in Strasbourg and Paris.... [His] Harmoniemusik for Revolutionary fêtes ... were especially well received [and his] string quartets in particular employ a balance of parts uncommon in France at a time when the virtuosity of the first violin was standard practice." Clarinet method In 1796 Blasius wrote a treatise on playing clarinet (Nouvelle methode de clarinette et raisonnement des instruments) which included a fingering chart for a five-key instrument built in five sections: mouthpiece, barrel, two finger-hole sections, and stock bell. It included separate fingerings for the enharmonically equivalent notes of g-sharp and a-flat. Blasius also advocated using both lips to cover the upper and lower teeth, which modern players refer to as the "double-lip" embouchure: "take good care that [neither] the mouthpiece nor the reed is touched by the teeth. It is necessary to support the mouthpiece on the lower lip to cover the reed with the upper lip, without the teeth touching any of it." Clarinetists of this period typically played with the reed up, so this method avoided the teeth touching the reed. Moreover, this embouchure is normal for the double-reed instruments, oboe and bassoon, and clarinetists at the time often played these instruments as well. In fact, it is known that Blasius also mastered the bassoon and the flute. List of compositions Instrumental The works in this list are primarily from The New Grove Dictionary of Music and Musicians with additional sources as noted. Orchestral Simphonie (1785) (music not located) Three Suites d'harmonie (1799–1812) No. 1 in B flat No. 2 in E flat No. 3 in E flat Note: These works were written for military and social functions. Following well established French traditions, airs and popular ballads were brought together according to key without further connections. The only organizing principles appear to have been to have a lively piece to start and end and some diversity of character between the others. Seven collections of pieces for wind band Overture, for wind instruments (1794), ed. in C. Pierre: Musique des fêtes et cérémonies (1899) Overture, for wind instruments (1796) Concertos Three violin concertos, including: Violin Concerto No. 1 in G major (1797 or 1798) Violin Concerto No. 2 in A major (c1797) Violin Concerto No. 3 in B-flat major (1801) Four clarinet concertos (1802–1805), including: Clarinet Concerto No. 1 in C major Clarinet Concerto No. 2